Dean Parisot

A prolific television director who won an Oscar for his short film work and made the move to features in the late 1990s, Dean Parisot had early credits as a fine arts documentarian before making his d...
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Buena Vista Pictures via Everett Collection
Now that he's played gangsters, pirates and mad hatters, Johnny Depp is set to make some real magic. The Oscar-nominated actor is reportedly in talks to play Harry Houdini in a biopic about the legendary magician, according to Variety. Based on the book The Secret Life of Houdini: The Making of America's First Superhero, the film will chronicle Houdini's life and career, from his poor childhood, his international fame and the time he spent working as a spy, culminating in his mysterious death on Halloween, 1926. Dean Parisot, who has previously directed Galaxy Quest and Red 2 is on board to direct, which bodes well for the film's intense stunt sequences, and will feature a script from The Maze Runner's Noah Oppenheim.
Depp has long been Hollywood's go-to actor whenever a film requires someone to play an oddball that still appeals to a mainstream audience, so it's not particularly surprising that he's being considered for the role. As an escape artist, illusionist, actor and aviator, Houdini cultivated a reputation for mystery and confusion over the course of his career, and even his death was shrouded in suspicion. Since the height of his fame in the early 20th century, his name has become synonymous with everything weird, perplexing and difficult to explain. Therefore, a fitting biopic would need to incorporate that reputation with the right amount of campiness to properly evoke the vaudeville spirit of his magic shows, and there are few actors in Hollywood who better exemplify campy darkness than Depp.
All of his most famous characters feature the kind of strange, off quality that is necessary to play Houdini, and both his on and off-screen personas lend themselves to portraying someone who is famous for the mystery that surrounds them. And despite being taller than the famously-short Houdini was, Depp looks the part, sharing the same sharp cheekbones, bright blue eyes and charming smile that Houdini was described as having. Depp often uses his charm and wit to make kooky characters seem friendly and entertaining, and Houdini often used his charisma in a similar way, drawing in massive audiences to witness his death-defying stunts. Plus, if there's anyone in Hollywood who looks like an off-duty illusionist, it's the guy who played Edward Scissorhands.
Though Depp's campiness and oddball nature is a major strength of his, many of his recent films have abandoned any kind of subtlety in favor of fully embracing all of the weirdness and absurdity they could possibly pack into one film. While that approach may work for something like Alice in Wonderland, which is set in a fantasy world, it doesn't necessarily bode well for a biopic that is grounded in reality. Houdini was a weird character, but his story is still rooted in the very real dangers that his profession and hobbies provided. A little bit of camp would serve the story well, but too much will overwhelm it and reduce it to simply a vehicle for another wacky performance of Depp's.
Biopics aren't Depp's forte as an actor, as it's often difficult to find real-life person whose story requires the kind of kookiness that Depp naturally exudes. His most recent, Public Enemies, was too serious to allow Depp to properly throw himself into the role, resulting in a performance that felt stilted and wooden. Watching the film, it was difficult to separate Depp from the character of John Dillinger, which makes it difficult for audiences to really connect with the story. While Depp should have better luck losing himself in a character like Houdini, it's still going to be a challenge for him to let go of his off-screen persona and allow moviegoers to experience Houdini, rather than Depp-as-Houdini.
If the script for the film veers too serious, it runs the risk of confining Depp, resulting in an awkward, wooden performance. However, if it edges too far into the absurd, the character or Houdini will probably be overshadowed by all of the funny tics and strange character choices that Depp will make. His recent films aren't known for their moderation, so it would require a strong directorial vision to keep Depp from chewing the scenery to the detriment of the story as a whole. The box office returns of his recent films seem to suggest that fans are looking for something different from Depp, as both the over-the-top weirdness of Lone Ranger and his straight-computer turn in Transcendence failed to win them over. Houdini could be the median he needs to impress moviegoers again, but if the film leans too far into the surreal or the straightforward, Depp will just be doing the same old thing.
Hopefully Depp and the team behind the Houdini biopic will be able to find the right balance between insanity and history in order to make a film that's both critically and financially successful. After all, it's difficult to find a guy who can pull off the suit-and-shackles look quite like Depp can.
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Warner Bros. R-rated scare-fest The Conjuring takes a heaping helping of The Exorcist, a dash of Amityville Horror and a sprinkling of The Birds, mixes in a terrific cast and comes out on top with a much better-than-expected $41.5 million at very crowded multi-plexes this weekend. A great marketing campaign, counter-programming strategy and an impressive A- CinemaScore certainly paid big dividends. Patrick Wilson and Vera Farmiga star as Ed and Lorraine Warren in the "based on a true story" account of particularly nasty demon that inhabits the newly purchsed home of a married couple (Ron Livingston and Lili Taylor) and how it begins to terrorize them and their young daughters. Packed with great tension and solid performances, director James Wan (Saw, Insidious, Saw III) is one of the most effective helmers working in the genre today and delivered at a $19.5 million production cost, a profit making hit.Universal's Despicable Me 2 continues to charge toward the $300 million mark in North America and $600 million worldwide while taking the second spot after two weeks at number one with $25 million for the weekend.In third place as perfect counter-programming to the scary R-rated The Conjuring, Fox and Dreamworks animation unleashed the animated Turbo. When it opened on Wednesday it grabbed the pole position with a gross of $5.5 million. A five day (Wed. through Sunday) total of just over $31.2 million and a three day weekend of $21.5 million made this a solid debut for a non-sequel animated family film. A remarkable CinemaScore of A+ will ensure the film's success in the coming weeks. According to Fox, internationally Turbo punched it off the line, earning $22.6m from 6,203 screens in 28 markets. The film is #1 in 19 countries. Strong openings in Europe (Russia, Portugal, Greece), Asia (Philippines, Malaysia and Thailand) and Latin America (everywhere) find the film thriving across all cultures and countries. Sony's Grown Ups 2 put in a respectable second weekend performance landing in fourth place with $20 million against a 52% drop and $79.5 million in North America after just 10 days of release.Debuting in fifth place with an expected $18.5 million is the PG-13 rated Red 2 from Summit Entertainment/Lionsgate that shot its way back into 3016 theaters this weekend. Following up on the success of October 2010's first installment which opened with $21.8 million and went on to earn just over $90 million at the North American box office, this latest version features the terrific cast that made the first film an action packed comedy hoot. Bruce Willis, Helen Mirren, John Malkovich &amp; Mary-Louise Parker return as mostly-retired black-ops agents who return for yet another over the top mission. Directed by Dean Parisot (Galaxy Quest), Red 2 should landed just shy of the box office territory of the first film as it attracted older audiences back to the summer movie marketplace.Sixth place goes to Warner Bros.' Pacific Rim earning nearly $16 million in its second weekend and $68.2 million to date.Universal's R.I.P.D. (Rest in Peace Department) opened in 2,849 theaters and managed a mere $12.762 million for a seventh place debut. The film was directed by Robert Schwentke (who also directed the first Red film) and features Jeff Bridges and Ryan Reynolds in this $130 million production. As an action crime comedy with a supernatural premise, the film had a tough time finding an audience in this very crowded marketplace. The summer movie season of 2013 at this point is performing well despite some high profile big budget flops of late and has managed to outpace every summer since 2010 at the same point and maintain an impressive 10% revenue advantage over last year.Top Movies for Weekend of July 19 - July 21 (Estimates)Rank Movie Gross Theaters Avg.Per YTD Distributor01 The Conjuring $41.53M 2,903 $14,306 $41.53M Universal02 Despicable Me 2 $25.0M 3,820 $6,560 $276.1M Universal03 Turbo $21.5M 3,806 $5,649 $31.2M Fox04 Grown Ups 2 $20.0M 3,491 $5,729 $79.5M Sony05 Red 2 $18.5M 3,016 $6,134 $18.5M Lionsgate06 Pacific Rim $15.95M 3,285 $4,857 $68.2M Warner Bros.07 R.I.P.D. $12.76M 2,852 $4,475 $12.76M Universal08 The Heat $9.32M 2,689 $3,468 $129.3M Fox09 World War Z $5.2M 2,006 $2,592 $186.9M Paramount10 Monsters University $5.0M 2,186 $2290 $249.0M Disn

Warner Bros. R-rated horror-fest The Conjuring takes a heaping helping of The Exorcist, a dash of Amityville Horror and a sprinkling of The Birds, mixes in a terrific cast and looks to come out on top with around $30 million at very crowded multi-plexes this weekend. Patrick Wilson and Vera Farmiga star as Ed and Lorraine Warren in the "based on a true story" account of particularly nasty demon that inhabits the newly purchsed home of a married couple (Ron Livingston and Lili Taylor) and how it begins to terrorize them and their young daughters. Packed with great tension and solid performances, director James Wan (Saw, Insidious, Saw III) is one of the most effective helmers working in the genre today and looks to deliver another modestly budgeted hit.As perfect counter-programming to the scary Conjuring, Fox and Dreamworks animation unleashed the animated Turbo on Wednesday and grabbed the pole position with a gross of $5.5 million and in the process knocked the animated juggernaut Despicable Me 2 to second place for the day. Look for a five day (Wed. through Sunday) total of just over $3o million and a three day weekend in the mid-$20 millions for this solidly performing non-sequel animated family film.Next up is the PG-13 rated Red 2 from Summit Entertainment/Lionsgate that shoots its way back into 3016 theaters this weekend. Following up on the success of October 2010's first installment which opened with $21.8 million and went on to earn just over $90 million at the North American box office, this latest version features the terrific cast that made the first film an action packed comedy hoot. Bruce Willis, Helen Mirren, John Malkovich, Morgan Freeman &amp; Mary-Louise Parker return as mostly-retired black-ops agents who return for yet another over the top mission. Directed by Dean Parisot (Galaxy Quest), Red 2 should land in about the same box office territory as the first film with an expected gross in the low-$20 millions as it draws older audiences back to the summer movies.Universal's 3-D R.I.P.D. (Rest in Peace Department) in 2,849 theaters is directed by Robert Schwentke (who also directed the first Red film) and features Jeff Bridges and Ryan Reynolds in this $130 million production. An action crime comedy with a supernatural premise has two undead cops tasked with the mission of finding destructive souls who are unwilling to go peacefully to the other side. A gross in the mid teens could land this one neck and neck with Warner Bros. Pacific Rim in a battle for fifth place and just behind Sony's Grown Ups 2 which could wind up in fourth with just over $20 million.The summer movie season of 2013 at this point is performing well despite some high profile big budget flops of late and has managed to outpace every summer since 2010 at the same point and maintain an impressive 13% revenue advantage over last year.

Actress Mary-Louise Parker is such a notoriously bad driver the producers of action film franchise Red had to hire someone to operate the pedals in the cars driven by her character in the movies. They also had to create special vehicles that allowed experts to sit below her, out of sight during fast-paced scenes in the film.
She tells WENN, "The car had a pocket in the bottom of it so a person could sit there and drive it. There is this one scene that I had where I actually was responsible for driving the car, all I had to do was drive straight, like 25 feet - and I drove straight into a wall!
"(Co-star) John (Malkovich) was trying to tell me, 'No dear, you just keep the steering wheel straight,' and I crashed anyway. The director (Dean Parisot) put it on a loop and just sat there behind the video monitor watching it over and over, just dying laughing."
The actress' driving skills are so terrible that castmates and crew on her hit TV show Weeds would stop what they were doing and rush to the set whenever her character had to get in a car.
She adds, "They'd just come out to watch me drive and say, 'Oh no, she's driving out of the parking lot!' I don't drive in real life. It's much safer for everyone."

Bruce Willis was rendered starstruck on the set of Red 2 while filming scenes with acting legend Sir Anthony Hopkins. Hopkins joined the Die Hard star and castmates John Malkovich and Dame Helen Mirren in the sequel to 2010 action movie Red, and Willis admits he was mesmerised watching the Oscar winner at work.
He says, "The day that we found out that Tony was going to do the film, I was like, 'Yeah! This is so good!' Everybody was very excited - Dean (Parisot) too, Dean is our director and is a very low-key guy but he was very, very excited that we got Tony. The other assorted kooks and characters who are in this film were all so happy to watch Tony work. There were times when I kind of stopped acting - I was just a fan for a few moments on the set."
Mirren adds, "When we did the first scene with him, we did a little bit of rehearsal but not much, and then bang, we're into shooting. We're on Tony first and Tony does this incredible performance just like that. Bruce and I were just both standing there with our jaws open, going, 'Oh my God, that's the competition. Follow that!' He was amazing."
Meanwhile, Hopkins insists he didn't have to think twice about joining the cast: "My agent phoned me and said, 'Would you like to do Red 2?' Bruce Willis? John Malkovich? Yeah! I'd met Bruce before just briefly, and he gave me a great welcome, everyone did."

The Matrix star confirmed in March (12) that another installment of the comedy franchise is in the works, revealing he and co-star Alex Winter have a "good script" and were just waiting for a start date.
Galaxy Quest director Parisot has now been put in charge of the third Bill &amp; Ted film, according to showbiz blog Vulture.com, but production is unlikely to begin for some time yet as he is scheduled to start shooting RED 2, a sequel to the 2010 Bruce Willis and Helen Mirren action comedy.
The original Bill &amp; Ted's Excellent Adventure came out in 1989 and a follow-up, titled Bill &amp; Ted's Bogus Journey, was released in 1991. The franchise also enjoyed success on TV thanks to an animated series.

In 2010, director Robert Schwentke released the Golden Globe-nominated action-comedy Red, which focused on a group of retired secret agents to "get back in the game" and take on a new threat. As such, the cast was made up of relatively older actors: Bruce Willis was the young gun of the bunch, surrounded by Helen Mirren, Morgan Freeman, and a senile John Malkovich. The forthcoming sequel Red 2 is opting for a slightly different angle with its newest cast member: Catherine Zeta-Jones.
Zeta-Jones is slated to join Willis, Mirren and Malkovich for the followup to Schwentke's film, which will be directed by Dean Parisot (Galaxy Quest.) Additionally, Byung-hun Lee (best known as Storm Shadow in the G.I. Joe film series) is also on board for the sequel.
Of course, neither of these two younger performers (Zeta-Jones is 42, Lee is 40) will be joining the team of retired agents. In the first movie, Mary-Louise Parker (who is also returning for the sequel) played a civilian who got wrapped up in their so-called black-ops. Considering Zeta-Jones' flair for super-humanity, and Lee's experience with the action genre will probably pit each of them as some kind of younger stealth agent and perhaps at odds with the returning team. The AARP crowd loves that kinda stuff!
[Photo Credit: David Edwards/Daily Celeb]
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[THR]

The trailers for the upcoming In Time may have you believing that stars Justin Timberlake and Amanda Seyfried are stuck in one giant "there's no time!" chase sequence. You'd only be partially right. This couple of beautiful people are most definitely on the run, but with a greater purpose.
Every human on the planet, including the sprinting duo, is born with a ticking clock, an implant that acts as both their life's countdown clock and their wallet (in this world, time is currency). Nefarious circumstances force the duo to constantly search for a few more minutes, but the danger also inspires them to Robin Hood the rich (who have centuries worth of time on their clocks) and spread the wealth. Er, hours. They're bank robbers—and the newfound occupation elevates them to what is known in the movie world as "Bonnie and Clyde" status. Thanks to the lawless world of movies, two turn-of-the-century criminals have been immortalized, with Timberlake and Seyfried being the latest to keep the thieving dream alive.
Obviously, they aren't the first (but may be the most futuristic?). Here are a few examples of couples who make doing bad oh so good:
Pulp Fiction's Pumpkin and Honey Bunny
We don’t know a good deal about who “Pumpkin” and “Honey Bunny” are, or what brings them to the Hawthorne Grill that eventful morning. But aside from an offhanded remark about not particularly wanting to kill anybody, we can tell that the two of them are none too averse to a life of criminal activity (they might have undergone a change of heart after a run-in with Jules Winnfield, however). It seems the two are most amorous when they’re about to pull a job. In fact, it might be this life of crime that is, in fact, holding their love together. Thus, a more Bonnie and Clyde-esque pair you’d be hard-pressed to find.
Duplicity's Ray and Claire
Ray and Claire may be just as confused by one another's hazy allegiances as the audience watching this mind-bending romantic thriller. Throughout the movie, their relationship intertwines, doubles back and disintegrates over many years and many cooperate invasions. By the end, they're working together (or are they?!) to infiltrate and profit from their big business employers—but find themselves screwed by another unseen force. Thanks to Julia Roberts and Clive Owen's genuine chemistry, the only thing that doesn't feel like an espionage maneuver is the two's lust. But even then…
Fun with Dick and Jane's Dick and Jane
Dick and Jane Harper begin their cinematic adventures as your average married couple—their financially well-off, passionless, hardly the criminal type. Once Dick’s evil conglomerate lets most of its employees go, the two resort to robbery—ranging from quiet stickups at the ATM to the carefully-plotted takedown of Dick’s billionaire ex-employer—which, incidentally, ups the ante in their own personal zests for living. This simple suburban married couple, played by Jim Carrey and Téa Leoni, get a healthy dose of Bonnie and Clyde in Dean Parisot’s Fun with Dick and Jane.
Natural Born Killers' Mickey and Mallory
When it comes to couples who fuel their love life with crime, you’re bound to expect a little darkness. But even Bonnie and Clyde themselves would shudder at the activities of Mickey and Mallory Knox in Oliver Stone’s Natural Born Killers. From the moment of Mickey’s romantic—wait, no…horrifying—rescue of Mallory from her abusive parents, the two spend their life on the run from the law, committing murder after murder in the name of whatever they claim to believe in. It may be even beyond the wheelhouse of cinema’s most iconic criminal couple, but the roots of Mickey and Mallory are certainly planted in Bonnie and Clyde: they’re the bad guys. But they’re the bad guys together. So it’s kind of sweet—wait, no…horrifying.
Knight and Day's Roy and June
Roy and June may not pilfer the innocent, but they are a couple that spends a majority of their time on the run, firing guns amongst bystanders and escaping from sticky situations just in the nick of time. Sounds like a Bonnie &amp; Clyde duo if there ever was one.
And they do do quite a bit of stealing: The secret agent and his blonde bombshell captive hunt, nab and protect a tiny trinket called the Zephyr, a never-ending battery capable of powering pretty much anything. The tricky part of their renegade romance is that neither really knows when one is going go backstab the other. Being a couple's a lot easier when both people have the same agenda, even if that agenda's robbing banks.
True Romance' Clarence and Alabama
Clarence and Alabama are guilty of plenty: prostitution, drug possession, murder, Sonny Chiba fandom. But their intentions are never quite criminal...it's all just a means to the truly romantic end of spending their lives together. Caught up in a runaway life, the couple portrayed by Christian Slater and Patricia Arquette in this Tony Scott film exemplify the downward spiral that is the Bonnie and Clyde lifestyle. At the beginning of the film, Clarence is a simple video store clerk—but his love for Alabama, and possibly impassioned sensibilities over this new life of danger, have launched him and his call girl soul mate into an inescapable life of crime.
Bonnie and Clyde's Bonnie and Clyde
We're certainly not going to compile a tribute to Bonnie and Clyde couples and not include the definitive Bonnie and Clyde. Warren Beatty and Faye Dunaway inhabited the notorious crime couple and helped define the pair as symbols of counter culture. They were in love…but they also shot tommy guns and stole people's hard-earned cash. Back in 1967, Bonnie and Clyde shocked the nation. Now, anti-heroes are perfectly acceptable—to the point that Bonnie and Clyde may not even deserve the "anti" in their label!

To some, Zac Efron will always be the fresh-faced teeny bopper who helped Disney sell billions of lunchboxes. But the former High School Musical star has plans to branch out and with a production company set up at Warner Bros. he could redefine his career in this next decade. Though none of the projects he's optioned have yet blossomed, he's still fielding offers left and right and today it seems he may have found his next gig.
The Playlist is claiming that the Efron has been formally attached to The Necessary Death of Charlie Countryman, a film that Shia LaBeouf was going to star in last year. Dante Ariola was on board to direct at that time, but the project is once again without a helmsman. Matt Drake, an up-and-coming scribe who also penned the Todd Phillips produced Project X (due sometime this year), wrote the 2007 Black List certified screenplay which centers on a young man who travels to Europe after his mother dies. There he meets and falls in love with a beautiful young lady who happens to belong to a violent gangster with a gaggle of goons at his disposal. Charlie fights wave after wave of thugs, enduring one beating after another to prove to the girl that he's her savior.
Described as being in the vein of Pulp Fiction, Charlie Countryman is billed as a stylized action comedy and given the love story aspect it seems like a potent hybrid of tones. If the past work of its producers is any indication of its direction (the film is being shepherded by Albert Berger, the man behind Election, Little Miss Sunshine and Cold Mountain as well as Dean Parisot, who directed Galaxy Quest and Fun With Dick and Jane), The Necessary Death of Charlie Countryman could be a cool mesh of genres and a unique experience. However, Efron hasn't shown me much depth even though he's trying to prove himself as an actor and I'm not sold on the project if he's the only draw. I didn't see his other Charlie movie - last summer's Charlie St. Cloud - so I'll reserve further judgment until I see what he does in The Lucky One later this year, but an exciting filmmaker could make all the difference.
Source: The Playlist

Source: Mandate Pictures
After running from robots in disguise one last time in Michael Bay's forthcoming Transformers 3, star Shia LaBeouf will headline The Necessary Death of Charlie Countryman for Mandate Pictures.
In the film, Charlie Countryman (LaBeouf) was just a normal guy...until he fell in love with the one girl who will probably get him killed. When Charlie meets the absolutely irresistible Gabi she’s already been claimed by Nigel, an insanely violent crime boss with a gang of thugs at his disposal. Armed with little more than his wit and naïve charm, Charlie endures one bruising beat down after another to woo Gabi and keep her out of harm's way. Finally his exploits of blind valor create such a mess that he's left with only one way out; to save the girl of his dreams, must Charlie Countryman die?
Dante Ariola will direct the romantic actioner from an original screenplay by Matt Drake. Albert Berger and Ron Yerxa of Bona Fide Productions will produce along with William Horberg. Dean Parisot and Mandate president Nathan Kahane will executive produce.
I've long thought the LaBeouf is more talented than he's allowed to be in Michael Bay's trilogy, as he's proved in turns in New York, I Love You and A Guide To Recognizing Your Saints. Now that his Transformers contract is coming to an end, we're hoping that he'll take more risky roles in the future and this seems to be a good start, balancing the action that he's accustomed to with more quirky material. Consider our fingers crossed...

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Made screenwriting debut with the art world murder mystery feature "Still Life"

Was executive producer and director of the ABC TV-movie "ATF"

HBO aired "Steven Wright in The Appointments of Dennis Jennings"

Directed documentaries on fine arts for the Museum of Modern Art in NYC as well as other cultural institutions

Was the director of the "HBO Comedy Hour" presentation "Kathy and Mo: The Dark Side"

Made feature directorial debut with the comedy "Home Fries"

Directed an episode of the interactive mystery series "Likely Suspects" (Fox)

Directed the black & white short "Tom Goes to the Bar", which won the Golden Bear for short film at the 1986 Berlin Film Festival

Helmed an episode of ABC's "Going to Extremes"

Directed the comedy short "The Last Seat"

Directed "Framed", an HBO original about a painter seeking revenge after being framed for forgery

Directed the sci-fi comedy "Galaxy Quest"

Shared Academy Award for Best Short Subject (Live Action) with Steven Wright for "The Appointments of Dennis Jennings"

Was a writer and segment director for the "HBO Comedy Hour" special "Steven Wright: Wicker Chairs & Gravity"

Helmed episodes of the ABC series "The Marshal"

Helmed an episode of the popular NBC medical drama "ER"

Directed an episode of the CBS medical drama "L.A. Doctors"

Was the director of the small screen remake "The Conversation", a failed pilot aired as an NBC TV-movie

Directed several episodes of the off-beat Fox sitcom "Get A Life"

Directed an episode of the CBS police drama "Under Suspicion"

Helmed episodes of "Northern Exposure" (CBS)

Produced and directed Fox's quirky police comedy "Bakersfield P.D."

Raised in Wilton, Connecticut

Summary

A prolific television director who won an Oscar for his short film work and made the move to features in the late 1990s, Dean Parisot had early credits as a fine arts documentarian before making his dramatic directorial debut with the black & white short "Tom Goes to the Bar", which subsequently earned him the Berlin Festival's Golden Bear (in the shorts category) in 1986. He followed up quite auspiciously with "The Appointments of Dennis Jennings", a featurette starring comedian Steven Wright that earned the pair the 1988 Academy Award for Best Short Subject (Live Action). Parisot also took home a CableACE Award for Best Directing after it aired on HBO in 1989 under the title "Steven Wright in the Appointments of Dennis Jennings". The helmer later reteamed with Wright on the exceptionally dry comedian's "HBO Comedy Hour" special "Wicker Chairs & Gravity" (1990). Parisot's fine arts background served him well that year when he made his feature screenwriting debut with the art world mystery "Still Life" and as director of the similarly themed HBO original "Framed".

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Education

Name

Tisch School of the Arts, New York University

Notes

Dean Parisot on "Galaxy Quest": "We wanted to let audiences find the humor rather than bash them over the head with it.

"I've mostly [directed] people on Earth, so this was new to me." --quoted as part of Entertainment Weekly Online's Holiday Movie Preview, November 12, 1999